THE ARUP JOURNAL

JULY1967
THEARUP
JOURNAL
Vol. 1. No. 5 July 1967 Published by
Ove Arup & Partners Consulting Engineers
Arup Associates Architects and Engineers
13 Fitzroy Street, London W1

Editor: Rosemary Devine

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Art Editor: Desmond Wyeth
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Contents X
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The front cover shows the north elevation of Scotstoun

House from the car park entrance to the walled garden.
(Photo: Peter Foggo)
The back cover shows the east side of Scotstoun House
showing the relationship between the existing garden wall
and the building.
(Photo: Peter Foggo)

2 SCOTSTOUN HOUSE
David Thomas

12 BUSH AND PICK-HAMMERED CONCRETE

ON THE BARBICAN SCHEME
J.A.Waller

20 SOUTH BANK ARTS CENTRE

ARCfilTECTURE
Norman Engleback

24 SOUTH BANK ARTS CENTRE

STRUCTURES
A. J. J. Bartak I 'Ill !O

Fig. 1
Plan showing the house and grounds
at Scotstoun before development

Scotstoun House
David Thomas
The Edinburgh office of Ove Arup & Partners Consulting
Engineers was started early in 1960 by Tom Ridley to deal
with the Ninewells Hospital Scheme at Dundee. By 1963 the
office had grown sufficiently to warrant Fraser Anderson's
joining Tom Ridley, and the 60 or so members of the staff
occupied several small offices based around 90 George
Street, Edinburgh.
The disadvantages of this fragmented set-up were as great
in Edinburgh as those confronting the London office before
the new offices in Fitzroy Street were acquired, and the
partners decided, therefore, to build an office building to
house all the Scottish staff.
2
THE SITE
After an extensive search in and around Edinburgh a site was
found near South Queensferry - a town on the southern banks
of the Firth of Forth, famous for the Forth Bridge and the
recently completed road suspension bridge.
It is a small town about 5 miles from Edinburgh, and not
far from Turnhouse Airport, with good road and rail
access to all parts of Scotland.
The site, just south of the town and close to the approaches
to the road bridge, was the site of a Georgian country house
standing in about 6 acres of once carefully kept grounds, on
the estate of Lord Primrose .
Apart from the house, which was in a badly neglected state,
the equally neglected grounds contained a walled garden with
adjoming stables and cottage. From the first it was obvious
that this walled garden was the one feature of the site
which together with the trees had to be retained
and integrated with the design. The house could
 SCOTST(llj HOUSE
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go, but the weather-beaten old walls, providing a sheltered
area on a not so sheltered site, were a tremendous asset
not to be ignored.
THE SET-UP
Two principal factors combined to make this project 1mique
in our experience. One was, of course, the close relation-
ship between the client, Ove Arup and Partners, and the
consultants, Arup Associates.
This almost incestuous state of affairs might well have led
to disastrous results, both to the goodwill between the two
firms and to the building itself. In the event, however, it
is fair to say that we have seldom, if ever, had such
knowledgeable and co-operative clients as Tom Ridley and
Fraser Anderson and, although they were sometimes cursed
as clients sometimes are, there is no doubt that the speed
of the project (15 months. from briefing to occupation) and
the resulting building benefited from their experience and
enthusiasm.
3
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WA LLED GARDE N
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THE DESIGN
The other unique factor was the notion of siting an office
building in an essentially rural setting. This set a very real
design problem in that it was clear that, above all else,
the office building must not destroy the character of the
setting. By its very nature, an office building could easily
be antipathetic to fields and trees and, together with the
car parking problem - made even more acute here by the
lack of public transport - the whole project provided an
exacting design exercise.
We felt that unobtrusiveness, and a sympathetic regard for
the vernacular, were of the essence of the problem, and
our subsequent decisions regarding the relationship
between the building and the walled garden, the form of
the building, the choice of materials and finishes, the
retention of the stables as a converted caretaker's house,
the use of the existing drive and our effort to hide the cars
beyond the walls, were all influenced by this need to pre-
serve the character of the surroundings.
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View looking eas~ from the old house ,c
towards the walled garden and the stables ::c
(Photo: Norris, Edinburgh) e
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To realise this objective, the building is designed as a low

single-storey structure to the south of the walled garden
with the north, or front elevation, replacing a section of
the existing wall.
The southern side of the garden was an obvious choice since
it produced the least interference with the existing trees
and allowed the walled garden to be used as an introductory
forecourt to the building. The cars could then be parked
beyond the eastern wall of the garden out of sight of the
office and amongst the trees. The existing driveway which
followed the lie of the land and around which the trees and
planting had originally .been planned, was another feature
of the site to be retained and was easily extended to serve
the car park .
Also, this siting of the office building allowed the stables,
although needing extensive rebuilding, to be converted into
a caretaker's house from where the entrances to the office !I 111 F!fl
and car park could be readily supervised. ' 10

The office building was designed on a module to fit the

existing furniture from the George Street office and a
certain degree of adaptability was required in the planning
of the drawing office spaces. To achieve this, the six-man
bays, considered to be the optimum initial grouping of staff,
are divided by low screens which are re-arrangeable to allow
different groupings should the need arise.
The core of the plan, the group of rooms surrounding and
looking into the courtyard, was regarded as more or less
permanent and the partitions, although non-loadbearing,
are of double-skin timber construction with a cavity for
services. Throughout the drawing office areas the heating
and electrical services have been run around the perimeter
of the building, leaving the floor space clear for rearrange-
ment. The building is covered by a roof of timber joists,
boarding and roofing felt, supported on steel universal
beams spanning between precast concrete wall units. The
roof overhangs the external wall, providing some cut-off
from sky glare in an attempt to visually contain the view.
The roof deck is surrounded by a steel channel edge member
spanning between the main beams which, at the four outer
corners, enables the roof deck to be cantilevered in two
directions. The decision to maintain a regular spacing of
the main beams, even at the entrance where the precast
concrete supporting panel is omitted, was justified by the
degree of standardization and the ease of construction
achieved. The precast concrete units, which alternate with
4
fixed glazing to form the external wall are U-shaped in
plan and section to provide recesses for shelving and to
give a deep reveal to the windows in an attempt to give
the faca.de some modelling.
The traditional wall material in this pa.rt of West Lothian is
either the local stone or rendered brickwork and we decided
concrete would not be unsympathetic with these materials .
The concrete was made from foam slag aggregate with an
added dye to produce a tone similar to the tone of the stone
garden walls . This material was chosen as an experiment,
for its insulation value and its light weight, but the weather-
ing properties, which were largely unknown, have proved
disappointing.
The choice of precast concrete units, steelwork and dry
materials for everything above slab level was further
justified by the speed of construction achieved - Si months
from start to finish .
We were not asked to design a building allowing any major
expansion in staff, but some leeway was required within
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the framework of the plan for a limited increase in numbers.
It was the intention of the partners that the Edinburgh office
should be maintained at roughly the present numbers and,
if future demands necessitated expansion, a second Scottish
office in, say, Glasgow could be opened in preference to
adding to Scotstoun House.
The contract was let to Wight Construction Ltd. of Falkirk
on a fixed fee basis, the net costs of the job being met by
Arups as the work proceeded. This method of contracting,
which was very successful, demanded constant super-
vision by Arups of working hours, workmanship and
ordering and checking materials. We were extremely
fortunate in having Mike Brown, from the Edinburgh office,
to take over this responsibility which he did with consider-
able skill, maintaining a good standard of workmanship on
the site, and a good relationship with the contractor.
Arup Associates were commissioned in September 1965,
work started on site in March 1966 and the building was
completed by December 1966.
5
Fig. 3 above
Site Plan. Scotstoun House was demolished and unsafe
trees and decaying bushes removed. Outside the walled
garden the site is to be cultivated as lawns and many new
trees and hedges have been planted. Inside the walled
garden, brick paved paths, steps and ornamental pools have
been introduced together with new trees and grass to com -
plete the landscaping.
The existing cottage was partly demolished and the remainder
was converted into a boiler house adjoining the old stables
which were converted into a caretaker's house. Car parking
for some 40 cars is amongst the trees to the east of the
walled garden.
 CARETAl<ERS HOUSE

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Fig. 4 Left, on facing page

Office Plan. The main drawing office spaces face east and
west with immediate views of lawns and trees. The smaller
offices face into the courtyard . White painted removable
partitions between the drawing offices allow variations of
the six men grouping. The permanent core partitions are
stud framed and faced both sides with British Columbian
edge-grained tongued and grooved boarding. The ceiling
throughout is again British Columbian pine boarding and
the floor finish is a dark green linoleum.

Fig. 5 A, B and C above and right

Possible layouts of the six men
drawing office bay. Layout A was
chosen as the layout for all the bays .

Fig. 6 below
One of the 7-men corner drawing offices.
(Photo: Reg Rigby)

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NORTH ElVATION

NORTH SOUTH SECTKlN

EAST WEST SEcrpj

SOUTH El.E'ATOI ( EAST N() ~T E ~ SMLAR)

Fig. 8 below
'. . . . . . . .,. .,. . . . . . . . .,._____. . ,lf!I
.
The south elevation. (Photo : Reg Rigby)

8
 Fig. 7 left
Elevations and sections. The concrete panels are dark grey
in colour and the steelwork both internally and externally
was shot blasted, primed and painted with a dark brown
micaceous iron oxide paint. The concrete panels alternate
with areas of fixed glazing and top hung ventilators at high
level between the beams give natural ventilation around the
entire perimeter of the building. The main beams downstand
below the roof deck and span 33 ft. The head of the full
height core partitions is detailed with a sliding joint to allow
for deflection in the steelwork.
Socket outlets and telephone points are housed in a service
rail at desk-top height around the perimeter of the building.
Heating is by gill tubes housed in the sill units.

! / I U C ~ A [ i j d ... t ~ ,1n!1,,aa

Fig. 9 below Fig. 10 above

The building from the south west. (Photo: Peter Foggo) A corner of the internal courtyard. (Photo: Reg Rigby)

9
Fig. 11 above
The south west corner
of the walled garden showing the relationship
between the building a~d the walls
(Photo: Reg Rigby)

Fig. 12 right
The ground floor slab is built on a low plinth which provides
a level platform on the slightly sloping site and which raises
the ground floor level sufficiently to allow a short flight of
steps to mark the entrance.
(Photo: Reg Rigby)

Fig. 13 top right

The caretaker's house and boiler house.
The arched gateway in the background was
formerly the entrance to the coach house .
(Photo: Peter Foggo)

10
 blemishes were also limited to tight tolerances. For pick-
hammering the contractor was required to pit the surfa ce
of the concrete in an irregular pattern to an average depth
Bush and pick- t
of in. but not more than ! in. using a pick or chisel bit
(Figs. 1 and 2). For bush-hammering the surface of the
hammered concrete concrete was to be evenly removed to a depth not greater
than! in. using a cruciform bit (Figs. 3, 4, 5 and 6). Pin-
on the hammering, a very light type of bush-hammering, was
also specified, but it has not been used. The concrete was
not to be less than 21 days old when tooled.
Barbican scheme Retarders were not permitted as these did not give the type
of finish required by the architects , Messrs. Chamberlin,
J. A. Waller Powell & Bon.

Exposed in situ concrete has been used on many jobs. Some

have been notably successM. Some have been awful
failures, and it is clear by now that the successful use of Fig.2
structural concrete as an exposed self-finished material Block 12.
is a complex and expensive operation requiring great care Pick-hammered column
in both design and execution.
There are two types of finish, that which is left as struck'
and that which is treated in some way, usually tooling, after
the shutters have been removed. An example of the former
is the G.L . C . South Bank Development (1). This article
is concerned with an example of the latter.
On the Barbican Redevelopment Scheme structural concrete
is exposed on the faces of the buildings and in lobbies,
stairways and car parks. Much of this exposed work is
either bush-or pick-hammered. On the three 6 million
contracts currently under construction iometlting over a
quarter of a million square yards of concrete surface will
eventually be tooled.

THE SPECIFICATION
The specification (2) required the shuttering to be to an
approved regular pattern and severely restricted the use
of fixing bolts through the concrete. Irregularities and

Fig.I
Block 11.
Pick-hammered edge _b eam

12
Fig. 3 above
Tower Block 1.
Lobby walls after bush-hammering;
shuttering joints still show.

Fig. 4 below Fig. 5 above

Tower Block 1. Block 11.
Staircase wall after bush-hammering; Typical mark left by shutter joint
shutter joints and bolt boles still show after bush-hammering

13
SHUTTERING 6
The biggest single factor in achieving good quality tooled
concrete surfaces is the shuttering. Every joint in the
shuttering will show through the finished treatment as
tooling does not mask the joints . Even a joint between two
sheets of ply within one shutter panel will tend to show as
a dark line (Figs. 3, 4, 5 and 6). It is therefore essential
that the shutter panels should be set out to a predetermined
pattern which takes into account the features of the building.
It is desirable to introduce a feature, such as a recess,
along the horizontal joints. This masks any slight
irregularities and helps to conceal the fact that generally
the concrete is a slightly different colour above and below
a joint(Fig. 7). At Barbican there were only a few places
where this device could be used. The actual quality of
surface finish is not critical, although in the case of bush-
hammered work similar absorbency is necessary to maintain
constant colour . The real key to success is simply the fact
that the shutters must be absolutely watertight. This is
easier said than done! Where shutters have to be clamped
against existing concrete, grout loss will produce a 'hungry' 7
joint which will often look worse after tooling than it did
before. Polyurethane foam and various rubber seals (e.g.
TRETOL 1 in. x 1 in. neoprene rubber foam) have been
used successfully providing the seal is firmly secured to
the shutter and tightly clamped to the existing work. These
remarks apply equally to joints between one shutter panel
and another and again it is essential that the joint is
clamped up tightly. Nailing is insufficient, bolts at close
centres are essential.
The edges of the sheets of ply must also be sealed, other-
wise the moisture absorbed by the cut edge is sufficient to
cause a dark line to appear. Fair success has been
achieved by filling the joint with glue and varnishing over
it. One thing is certain, a cover strip at the rear of a
timber shutter is not sufficient.
Shuttering ply can now be obtained in very large panels
consisting of standard sheets scarf-jointed together and
these have been used with considerable success on the
Barbican. 8
An alternative technique which was tried was to stick pvc
tape over the joint on the inside of the shutter. This was
successful provided the shutter was absolutely free of
mould oil, otherwise the tape crinkled and became
embedded in the concrete. On steel shutters tape stuck
on the outside of the joint was not very successful,

Fig. 6
Block 6.
Slab soffit, shutter joints and fixing
blocks still showing after bush-hammering

Fig. 7
Block 8.
Colour change at horizontal joint
9
in pick-hammered cross-wall.
Vertical shutter joints also visible

Fig.8
Block 6.
Laitance shows as white line at
horizontal construction joint

Fig.9
Block 8.
Concrete allowed to harden during pour;
emphasized by pick-hammering

14
apparently the moisture lost into the gap between the standard mixes have 4800 psi a nd 6000 psi nominal 28-day
shutter flanges was enough to leave a mark in the strengths .
concrete . One advantage that granite has over gravel is that if bulges
As a general rule it is worth remembering that every joint have to be cut back granite keeps its colour fairly well but
is likely to continue to show after tooling, surface gravel shows a distinct colour change when shattered by
blemishes are more likely to get worse than better with deep cutting.
tooling, and if a surface has bulged and has to be trimmed
back to line that also is likely to show differently, COLOUR
particularly with gravel aggregate. In general the colour of the tooled concrete on the
Barbican site is fairly consistent but it has proved
BOLT HOLES impossible so far to control it with any certainty and on
Some bolt holes are usually inevitable and obviously they occasions concrete appreciably darker or lighter than the
should be positioned to a regular pattern . The smaller the average is produced (Fig. 7) . All materials are drawn
bolt hole left the easier it is to conceal it and WILLIAMSFORM consistently from the same sources . The cement comes
bolts which leave about i in . diameter holes have been from only one factory . Experiments are in hand to try to
quite successful. The holes are plugged with a special establish the causes of colour variation and to find means
'making good' mortar (see below) with a few small pieces of toning darker or lighter pours to bring them to a better
of aggregate pushed in at the end to mingle with the tooled match. It seems probable that the cement is the principal
surface. Great care has to be ucen as these holes could cause of variation and to improve the situation would mean
be a weak point where a wall is exposed to the weather on finding a factory with a smaller variation. A further
one side . A rubber or plastic bung might be a better way complication arises in that the colour of a pour varies
of doing it, but some development work is required . from top to bottom, the bottom being denser than the top.
With use the bolt holes in the shutters become worn and To some extent this factor is obviously dependent on the
permit moisture to escape. The introduction of a steel height of pour (up to 40 ft. has been used on Barbican)
plate helps to prevent this, so does a rubber seal which is but the parameters have not been established.
a push fit on the bolt at the back of the shutter . If the concrete is allowed to go off during pouring, other
unpleasant patterns may be discovered later! (Fig . 9)
COVER MAKING GOOD
This is a very important consideration . Not only is part
If a defect is sufficiently bad to require repair then
of the cover removed but some of what remains after
consideration has to be given as to whether a patched area
tooling is shattered . Further experiments are needed to
can be accepted or whether the situation is such as to
establish the depth of this shattered zone . We considered
warrant removal of the whole pour . A patch which is
that shattering was unlikely to go deeper than one piece of
almost invisible when new may be startlingly visible after
aggregate, namely i in. and we finally assumed in. t exposure to the weather (Fig.10).
average depth over and above the normal cover . For
For small defects local pockets 1 in. deep are cut, epoxy
picked surfaces , we therefore added an extra 1-} in. (! in.
resin 1s applied to the interface and the repair is completed
removed+! in. shattered). Since, despite the specification,
before the resin sets by concreting through a letterbox
some of the pits cut are in fact an inch deep, this allowance
using an external vibrator. The resin has to be kept back
does not seem to be over-generous, As might be expected
a point bit cuts deeper than a chisel bit.
i in. from the exposed face , otherwise it shows as a black
line. Minor honeycomb is sometimes made good by patching
For bushed surfaces we allowed i in. extra cover ( -} in.
prior to tooling with a special making-good mix. This
removed + tin. shattered). In fact! in . would probably
consists of the cement and sand used in the original concrete
have been sufficient, but the extra has been very useful in
with the addition of some white cement . Tests were needed
allowing local bulges to be cut back without reducing the
to determine the mix which gave the best colour match.
effective cover .
Large defects either mean the demolition of the whole pour
Cover is generally achieved with conventional spacer blocks
or they have to be cut out right through the member and
but it has been found that the blocks have to be made from
are then reconcreted from one side using a letterbox. In
the standard mix from the mixing plant and not from
something 'knocked up' in the usual manner . Even so some
show up on bushed soffits (Fig. 6) .
In the walls, withdrawable timber battens have been used
but they can be unsatisfactory as the vibrators can move
the steel after the battens are withdrawn. Fig.10
Substation cooler tower.
Patch in the side of the tower
MIX is visible after weathering
We have found that this needs to be kept reasonably
consistent to provide consistent appearance , but cement/
aggregate ratios varying 1 :4 . 5 to 1:6 have not significantly
affected the appearance .
The water content needs to be kept to a minimum. Excess
tends to rise to the top of the pour and give a layer of
laitance which shows as a light line at the construction
joint (Fig. 8). This can be scabbled off but then the line of
the joint becomes ragged in appearance . A plasticizer
helps considerably in overcoming this problem .
The coarse aggregate originally specified for exposed work
was HITHER MOOR crushed flint gravel. Unfortunately the
attractive blues and !;>lacks in tooled gravel concrete
oxidize to an indifferent gingery colour. This can be seen
in the Public Services Building - the first building
completed . All subsequent exposed face work has been in
PENLEE crushed granite fromNewlyn. This is shipped to
London by Amalgamated Roadstone Co. primarily for use
as roadstone, and consequently the grading for concrete
purposes leaves something to be desired . Fine aggregate
is SANDOE zone 2 Sand from the British Dredging Co. The

15
order to make the patch as inconspicuous as possible in a and demolish the offending work and not trust to patching
tooled face the hole is cut to a neat-clean edge with hammer which at best is an uncertain art!
and chisel. The slight irregularity of such an edge mingles Rust stains from exposed bars above and from scaffold
better with a tooled finish than one produced by a concrete connectors are a continuing problem (Fig.11). Reasonably
saw. The saw however produces a better edge for fair-face satisfactory results have been obtained by scrubbing stains
work. with a bristle brush and weak acetic acid, but if a stain
Amongst repairs carried out have been some to several of has got well into a picked surface it is practically impossible
the 40 ft. high 4 ft. diameter pick-hammered columns. to get it all out. Ideally, tooling should be left until the work
These columns are split by a service entry at the bottom. above is advanced sufficiently to prevent contamination.
They were poured in one go to avoid joints but when
stripped some of the first ones were badly honeycombed AGE AT WHICH TOOLING IS CARRIED OUT
at the bottom beside the service entry. At this level the After some experiments we decided that concrete could be
concrete will eventually be stressed to 2500 psi average bush-hammered when it reached its 28-day strength, this
and about I/6th of the plan area had to be cut away and is usually about 10 days after casting . But with pick-
reconcreted. This was done by cutting a cavity with an hammering it was found that the tools cut too deeply at this
inclined upper surface to release the air and then applying age and we have kept to the specified minimum age of 21
epoxy resin to the cut faces immediately before reconcreting days.
through a letterbox. Before this method of repair was
attempted tests were carried out on standard cylinders RATE OF WORKING
which were cut and joined in the proposed manner and Test panels showed that the rate of tooling on gravel was
tested to failure. approximately twice as fast as on granite . The test panels
The repair has merged well and is now scarcely visible were divided into sections each one half of a square yard
despite the fact that the external line was cut with a and the following results were obtained:(3)
carborundum disc contrary to the advice given above.
On another occasion an 18 in. wall was refaced by cutting
off a 6 in. skin and reconcreting it from the top using Pick-hammering Timefora!sq . yd. panel
poker vibrators. In this case epoxy resin was not Point bit Granite Gravel
used.
As a general rule patches are always taken well behind the 25-day concrete 32 mins. 17 mins.
first layer of steel and repairs to pick-hammered work are 35-day concrete 28 mins. 12 mins .
never less than 4 in. deep for fear that the pick-hammering
might dislodge the repair. Chisel bit
One important point to be borne in mind when considering 25-day concrete 37 mins , 18 mins.
whether or not to permit repairs to be attempted is that the
final results will not be known until the concrete is tooled. 35-day concrete 26 mins. 17 mins .
By this time the structure may have advanced to such a Bush hammering
stage that the demolition is very difficult or even impossible.
It is probably better in many cases to be swift and brutal Cruciform bit on triple scaling tool
35 days 13 mins. 7 mins.

Pick-hammering was done with an air-driven hammer - a

Fig.11 CP9 from Consolidated Pneumatic Tool Co. Ltd. The
Girls' School. pointbitwas aPEG POINT. The chisel was 1 in. wide
Bush-hammered surface stained (Fig. 12). Both were from C. P. T. Co. Ltd.
from scaffolding above Bush-hammering was done with a Holman No. 5 triple
scaling tool (Fig. 13).
In some of the subsequent work bush-hammering was also
done with a CP9 and a single cruciform bit (Fig.14).

COSTS
When we have collected sufficient information about the
cost we will publish it.

POSTSCRIPT
It is possible to get a jointless bush-hammered surface.
A notable example is the conference hall under the Pirelli
Building, Milan. This was achieved by applying a two-coat
render to the structure, the top coat contain.mg a 3/8 in.
coarse aggregate. The render was then bush-hammered!
This type of finish is available in this country at a cost of
the order of 75/- per sq. yd.

ACKNOWLEDGEMENTS
I should like to acknowledge the help given by Mike Conacher
and Jim Dallaway.

REFERENCES
(1) POWELL, A.C. Rough concrete on site. The Arup
Journal, pp. 7-12, July 1966,
(2) Barbican Redevelopment Scheme (Job no. 1023)
Phase 2 Contract documents, Bill no. 1.
(3) OVE ARUP & PARTNERS. Barbican Redevelopment
Scheme (Job no. 1023). Report on the results of the
pick and bush-hammering finish tests carried out ...
A. Stevens, November 1965.
16
12 13

14

Fig.12 15
Block 6.
Pick-hammering with a chisel bit

Fig.13
Block 6.
Triple scaling tool for bush-hammering

Fig . 14
Multiple cruciform bit also used
for bush-hammering.
(Note, this tool was not used
for the work in the background
which is pick-hammered)

Fig.15
Block 11.
Expansion joint in a split column;
difficulty in keeping a clean edge
in pick-hammered work

17
16

18
 19

Fig.16
Block 11.
Edge of a pick-hammered cross-wall

Fig.17
Block 11.
Misuse of a point bit in
pick-hammered work; tool has cut
horizontal scores across the face

Fig.18
Public Services Building.
General view of building which
is bush-hammered gravel concrete

Fig . 19
Detail of Public Services Building.
Immediately to the right
of the upper window alongside the
fixed light a patch can be seen.
This is where the concrete
was cut back to line and
shows the change in colour and
texture which results when this
is done to gravel concrete

Fig. 20
Foam strip fixed to shuttering
to improve watertightness

All the photographs in

this article were taken
by J. A. Waller.

20

19

SOUTH BANK
ARTS CENTRE
Architecture
Norman Engleback*
HISTORY
The opening of the Queen Elizabeth Hall on March 1 marked
the completion of the first stage of the South Bank Arts
Centre complex. In the immediate post-war period, when
the Royal Festival Hall was conceived, it had always been
the intention of the London County Council to provide not
only the present Royal Festival Hall auditorium but a
small hall which would act as a satisfactory vehicle for
smaller scales o f musical performance.
During the contract period for the Royal Festival Hall,
* Greater London Council. Department of Architecture
& Civic Design . Civic Design & General Division
Fig.1
Isometric view of the scheme in its final design stage.
Considerable change of details occurred subsequently. Compare with figures 2 and 3 (See Key on page 31)
20
foundation difficulties and a fixed deadline for the opening
of the Festival of Britain in 1951 did not allow the original
concept to be completed. A provision was made for the
addition of the small hall i=ediately after the Festival
closed, but by that time the country was in a period of
financial stringency and it was not until the middle 50's
that the small hall completion was examined in any detail.
A scheme was produced to embody the new small hall
auditorium in the Royal Festival Hall group, using a
co=on foyer, but, with more intensive examination of the
sound-proofing involved (primarily, by the location of the
Bakerloo line immediately under the Festival Hall) it was
felt that the risk of structure-borne sound was too great,
and, as a consequence, a separate scheme was started.
A SCHEME
It was at this time that an Art Gallery was considered as
part of the accommodation requirements . The Arts
Council had been pressing for some time for a gallery
suitable to take the travelling exhibitions, which normally
displace works in the Tate Gallery, the Victoria and Albert
Museum and other buildings. In November 1956 the first
small concert hall and art gallery complex was published,
and this took the form of a gallery on the Thames frontage
of an area of 10, OOO sq. ft., and a small concert hall which
was convertible from an audience of 500 to an audience of
1,100. The convertibility was thought to be possible at that
time by means of removable screens and curtains, and with
a completely open concert hall plan, in which the foyers
and circulation increased the natural volume of the space
taken up by the seating.
Fig . 2 Fig.3
View of the site from the Shell tower. Concert hall
Walkways and downstream prestressed footbridge complex from
over Belvedere Road in the foreground Shell tower

21
ACOUSTICS
Again, after this scheme was published, there was another
period of financial restriction, and it was during this time
that experiments were carried out on the possibility of
increasing the level of reverberation in the Royal Festival
Hall. A number of natural meth.o ds were examined; the
possibility of increasing the volume by removing the
suspended ceiling, the effect of the removal of the low
frequency absorbing timber panelling on the sides of the
hall and the possibility of providing acoustical reinforce-
ment close to the platform performers.
New concert halls were appearing in Europe, in particular
in Germany, which benefited from the experiences of the
original Royal Festival Hall design, and Dr Leo Beranek of
the United States carried out a series of analytical tests on
all the major halls in both Europe and America to find out
why some were accepted by music critics more readily
than others.
There was a common factor arising out of this study which
linked all the halls which had particular musical and
acoustical desirability. This was that the volume, in
relation to the number of seats, was considerably greater
than that considered necessary at the time the Royal
Festival Hall was designed. A simple formula was
established to show this variation, volume over the actual
area of seating I referred to as y_. The y factor for the
s s
Royal Festival Hall is 33, but amongst the finest halls in
Europe this figure increased substantially to 40 and
beyond.
Large volumes, however, have inherent disadvantages with
halls seating the larger audiences than those designed in
the 19th century. Distances become critical and the
problems of inter-reflection and echo are very real ones .
However, for a hall of 1,100, which is, in fact, very
similar to the audience sizes accommodated in the 19th
century halls, it is possible to take a more radical view,
and this formula of Beranek 's was used to establish the
volume of thenewQueenElizabeth Hall, (Y = 41) together
s come this without any alteration to th.e structure, or to the
with the advice of Hugh Creighton, acoustic consultant, and
Fig.4
Upstream Belvedere Road footbridge and temporary
walkway link
22
Peter P arkin of the Building Research Station, who was able
to give precise physical data.
QUEEN ELIZABETH HALL
The musical requirements of the Queen Elizabeth Hall are
limited to an orchestra of approximately 35 players and a
choir to a maximum size of 50. In this way the limitation
on the platform size allowed hard reflecting surfaces to be
placed very close to the performers and, in addition, it
was possible to physically reduce the height of the reflecting
ceiling above the platform so that it contributed to the
acoustical reinforcement of sound on the platform . It was
still felt that with very weak soloists, the guitar, the
clavicord, solo violin, etc. , a further reinforcing system
ought to be employed, so that the canopy of cast aluminium
was proposed, immediately above the front of the platform,
which would be retracted when larger musical forces were
employed.
AUDIENCES AND SOUND
One of the problems facing a designer is the changing taste
of audiences and musical performers over the years in
which the hall is likely to be in use. The clarity and
brilliance of the Royal Festival Hall, when it was first
introduced in 1951, has now become the subject of some
criticism. Nowadays there is a preference for a longer
reverberation period and a greater degree of warmth. In
the Queen Elizabeth Hall there has been an attempt to
provide a degree of tunability by means of the use of
HELMHOLTZ resonators, lining the walls and used solely
as a means of absorbing below frequencies .
The HELMHOLTZ resonator is, in effect, an air-tight box
with a slot or mouth through which the sound enters and is
absorbed. The slot can be varied in size and in this way
the frequency absorbed can be varied. It is possible to
eliminate the effect of the resonator by blocking up the slot
or mouth altogether, so that although the process of varying
the great numbers of resonators installed in the Queen
Elizabeth Hall is a formidable one, it is possible to over-
appearance of the design.
Theoretically it would be possible to produce HELMHOLTZ Fig.5
resonators in precast concrete and, in fact, a panel was Downstream Belvedere Road footbridge
fabricated by Ellis of Leicester to see whether this could and the walkway alongside the rear
be reasonably supported on the interior lining of the hall. elevation of the Royal Festival Hall.
There were, however, very substantial problems of
weight involved, and it was decided to construct the Fig.6
resonators from a dense 2 in , block board laminate which View of the Queen Elizabeth complex
would minimize moisture movement and maintain full air- from the Belvedere Road pavement.
tight conditions .
In writing about the design of the Queen Elizabeth Hall it
may seem curious to some that one deals at length with the
acoustical problems, right down to the details of
absorption and platform design. This is the fundamental
basis behind the design as it is now seen on the South Bank.
It was designed, so to speak, inside out.
The primary need was to provide a ball for the highest
standard of musical performance and for conditions which
match these as far as the audience was concerned. The
auditorium came first, shape and size determined by
musical and sight-line requirements. The need to provide
a satisfactory standard of structural installation against
external noise determined the use of concrete as a
material, 15 in . thickness as a minimum requirement, to
achieve a decibel reduction of 55.
To strive for this degree of reduction without taking
appropriate precautions against other sound paths led to
further investigation on the movement of air conditioning
ducts from potential noise sources in the plant room, air
intakes to the auditorium itself and to the actual movement
of the audience from the entrance foyers into the halls .
Elaborate sound dampening ducts are expressed in the form
of an overhanging cornice wrapped around the top of the
auditorium structure; sound-proof lobbies between the
foyer and the auditorium are expressed as couplings,
linking the main design elements.
Problems of this kind are solved in aesthetic terms by the
rationalization of their expression in the building form
itself . The assembly of the elements of accommodation
designed including those of an art gallery, both substantial
in size, required particular care on this site. It would
have been physically possible to assemble all these
elements into a simple formal building, but this would have
rivalled the mass of the Royal Festival Hall itself.
23
THE SITE
The site is not an easy one, it is dominated on all three
sides by Waterloo Bridge, the Shell offices and the
formality of the Royal Festival Hall and it is, moreover ,
shaped in the form of a wedge, which meant that to achieve
a satisfactory relationship with one element would,
inevitably, create problems with the other two.
THE TERRACES
Jn deciding to break down the buildings into their components,
and expressing them, there was the basis of a solution.
Some design elements could be suppressed below horizon-
tal laminates of terraces. These form a complex
pedestrian system which starts on the South Bank and links
Waterloo Station concourse and Gharing Cross Station
without the intervening hazard of crossing roads. Moreover
these terraces create the basis of a pedestrian network
which is bound, in the future, to move into most of the
central area activities . These horizontal elements, the
pedestrian terraces, have been used to fuse the building
forms together and to relate them to Waterloo Bridge and
to the Royal Festival Hall.
FAIR-FACED CONCRETE
Jn a complex of this kind it becomes vital to maintain a
careful and consistent standard of detailing and it is here
that the use of fair-faced concrete was exploited to its
maximum. Building forms, difficult in other materials,
are perfectly possible in in situ concrete . Terraces which
move in all directions can reasonably be solved by the
mushroom slab techniques that have been used here without
any concern about linear relationships . Detailing has been
of a strong and vigorous kind and has been carried through
from the Queen Elizabeth Hall to the Hayward Gallery so
that the buildings, although having vastly different
functions, have a common and simple vocabulary of
materials and details which are readily identified .
THE WHOLE
Much has been made in rP.cent criticism of the austere
nature of this design but, in the context of this important
reach of the river, against Waterloo Bridge and in the
foreground of the more dominant Shell office buildings,
this was the power and the handling necessary to achieve
a significant contribution to the whole.
24
Structures
A. J. J. Bartak
'The site is not an easy one, it is dominated on all th.r ee
sides by Waterloo Bridge, the Shell offices . '
'It would have been physically possible to . . (produce)
. a simple formal building, but this would have rivalled
the mass of the Royal Festival Hall . '
'In deciding to break down the buildings into their
components and expressing them, there was the basis of
a solution. '
I purposely quote the architect as I consider that these
sentences contain the precise statement of his almost
impossible task and the basis for his, in my opinion,
brilliant solution .
FORMS AND SHAPES
The adoption of the principle of functional fragmentation
of the complex resulted in an exciting array of forms and
shapes. At the same time, their realization became a
predominantly engineering problem and presented the
structural engineer with a formidable but at the same time
exciting and challenging brief. There was nothing that was
conventional or repetitive, nothing that could be solved by
the rule book . It demanded a fresh and imaginative
approach in the choice and use of materials, and in creation
and application of new construction techniques .
MATERIALS AND METHODS
The variety and complexity of the forms implicit in the
architectural concept demanded the general use of material
Fig.7
Entrance to the foyer
Queen Elizabeth Hall .
capable of being readily moulded, and therefore the
structures are generally of reinforced concrete in situ
construction. The main structures are of the rigid stressed
skin type, designed to fulfil often very complex spanning and
support conditions.
Extensive use is made of the off-the-shutter concrete, both
externally and internally and often on both faces of a
particular structural member.
THE SPECIFICATION
A comprehensive and detailed specification was prepared
to cover all the aspects of this work, giving not only the
precise definition of the desired end products but prescribing
in detail the techniques which were to be employed on site
in order to realize them. Considerable efforts were made
at the beginning of the work to develop and perfect these
techniques and to eliminate site difficulties . Of particular
help in this respect was the fact that certain sections of
walkways and both prestressed concrete footbridges over
Belvedere Road, which were entirely in off-the-shutter
concrete finish, had been included in the contract for the
extension of the Royal Festival Hall, which started well in
advance of the work of the main South Bank Development
contract. This gave us the advantage of being able to start
work on the Queen Elizabeth Hall and the Hayward Gallery
with a great deal of teething troubles already eliminated.
SKILL AND WILLINGNESS
Close co-operation of everybody concerned, together with
the considerable skill, enthusiasm, and the will to succeed
displayed by the contractor, Higgs & Hill Ltd., throughout
the job, produced the desired result.
At all stages of the design and preparation of working
drawings, close work with the architect was needed to
ensure that the construction joints were co-ordinated with
the shutter patterns he wished to employ. On the other
hand, construction problems had to be carefully examined
in order to make it a practical job for the contractor.
Fig.8
Street level entrance to
Queen Elizabeth Hall foyer.
25
When, as an example, one selects a typical stair structure
which had patterned off-the-shutter finish on practically
all faces (and there are many of these staircases) one may
appreciate the intricacy of the problem and the patience
and high standard of drawing office work necessary. In
additi.on it was particularly important to minimize the
effects of shrinkage and especially so as far as the exter-
nally exposed elements of the structure were concerned.
In the main this was attempted by limiti.ng the sizes of
pours between the construction joints. For example, the
walls were designed to be cast in panels not exceeding
25 ft. in length and 8 ft. high. A set of rules was
established concerning reinforcement in various structural
members, e.g. the minimum nominal longitudinal
reinforcement in walls was set at 0.4%, the final amount
depending on the geometry and the environment of the
member.
All the horizontal reinforcement including the nominal wall
reinforcement was of high yield deformed bars.
CONTRACTION JOINTS
Due to the complex geometry of the buildings it was gener-
ally not possible to provide expansion (or better called
contracti.on) joints at conventional spacings. This
necessitated additional reinforcement and careful detailing.
In particular, wherever possible, the externally exposed
parts of the structure were articulated from the main
structures - and provided with their own expansion
joints.
Needless to say when this stage of drawing office work was
reached (i.e. a workable compromise between the various
requirements just discussed was, as we thought, achieved)
as often as not the initial structural conception for a given
structure and the consequent analysis would be invalidated
thereby, and we had to modify our initial conceptions.
GROUND CONDITIONS
As may be expected, the soil conditi.ons were difficult.
Obstacles in the form of fmmdations and other remains of
many buildings which existed over the site at some time or
other during the past centuries had to be removed or
penetrated. These included the remains and rubble of
buildings temporarily erected there during the 1950-1951
Festival of Britain. Of the older structures the most
formidable obstacle was in the shape of the granite walls,
 of 5 ft . .into London Clay proving sufficient to obtain a seal.
The installation and recovery of the liners was greatly
facilitated by the use of the Bade oscillating rig.
Altogether 296 large diameter piles were installed, of
which 33 were 2 ft. in diameter, 190 of 3 ft. diameter,
having 6 ft. or 7 ft. diameter under reams, and 73 of 4 ft.
6 in. diameter with 8 ft., 9 ft., 10 ft., or 11 ft. 1mder
reams. Maximum load of 470 tons was carried by a 4 ft.
6 in. diameter shaft pile having a 10 ft. under ream,
founded at -60.00 o.d., i.e. approximately 40 ft. into the
London Clay. All piles were designed for equal calculated
settlement, of i in. for the Concert Hall and t in. for the
Art Gallery Complex.
Now for the detailed description of the structures.

QUEEN ELIZABETH HALL

The Concert Hall is an in situ reinforced concrete box,
approximately 154 ft. long by 86 ft. wide by 70 ft. high.
The structure is supported on a foundation of large
diameter concrete cylinders. The rear of the auditorium
is structurally a propped cantilever, two large columns
situated one on each side- wall at the start of the canti-
levered section are the main supports and carry approxi-
mately 2, 5 00 tons each.

WALLS
The walls of the hall are themselves structural members,
15 in. thick and in some areas are heavily reinforced.
The walls, ducts and columns have both exposed Cornish

Fig.9
Foyer - Purcell Room link.

supported on timber piles, of the old Canterbury Dock

which extended right across the site. In general,
obstructions of all types plus building rubble derived from
superstructures of various build:lngs, covered the whole
site to a depth of 10 ft. - 15 ft. Below, there was a layer
of ballast of varying thickness, overlaying a bed of London
Clay at a level of approximately -19.00 Newlyn Datum,
i.e. approximately 25-30 ft. below the ground level.

THE WATER TABLE

The water table was approximately at the Datum level,
i.e. 10-12 ft. below the original surface of the site, and
was marginally affected by the tidal variations of the river
Thames.

PILES
Large diameter cylinder piles were thought to provide the
best solution and were used to support all the structures,
with the exception of Belvedere Road footbridges, and the
sections of walkways running along the front and the rear
elevations of the Royal Festival Hall. For these structures
small diameter bored piles were adopted because of
smaller loads involved and because it was necessary to
excavate down to the ballast in the areas of pile caps in
order to expose the existing services which abounded in
these areas of the site. This procedure allowed the
removal of the obstructions and consequently the use of Fig .10
small diameter piles. A view of the Purcell Room cantilever.
The installation of the large diameter piles was carried Note the plant room above and
out as a separate contract by Wbatlings Ltd. during the its support:lng structure.
period between April 1962 and January 1963 with Caldwell Prestressed concrete footbridge connect:lng
rigs. high pedestrian levels in the foreground.
Liner tubes, made in one piece of welded steel sheet, were
used to penetrate the waterlogged ballast bed, a penetration
26
Fig.11
Underside of the cantilevered rear section
of the Queen Elizabeth Hall auditorium

Fig.12
Foyer auditorium link

granite aggregate precast cladding and fair-faced finishes

externally. The resonators and internal cladding to walls
are of timber, supported on reinforced concrete exposed
face corbels, from the main walls Internally, the stage
end and flanking walls have off-shutter finish for the
entire height, the side walls up to the level of the corbels.

ROOF
The roof of the auditorium consists of a 15 in. reinforced
concrete slab supported on reinforced concrete box beams
spanning 85 ft. on to the side walls. Each box beam is
made up of two beams 13 ft. deep by 18 in. wide with a
15 in. top flange and a 5 in. bottom flange.
9 in. x 21 in. precast beams spaced approximately at 5 ft.
centres and spanning between box beams support a fibrous
plaster ceiling.

FLOOR
The floor is supported on sloping box beams, spanning the
length of the auditorium and supported on the rear wall and
over cross-walls in the basement. The boxes are made up
of two beams, approximately 9 ft. deep by 12 in. wide, with
a 12 in. top flange. There are five of these beams, three
of which contain the extract ducts from the ball. There is
a sloping 12 in. reinforced concrete slab spanning between
the box beams approximately 2 ft. above the soffit of the
main beams, over the cantilever section. Shaped precast
floor planks, spanning between the box beams, were to
support the seats .In the event, at the contractor's request,
these slabs were constructed in situ.
27
Fig.13
Foyer auditorium link

Fig.14
Typical external staircase

BASEMENT
The basement area, at approximately 4. 00 level under the
auditorium and extending between the main side columns
and the back stage wall, is of a double skin construction to
prevent any moisture penetration to the ducts.

PLANT ROOM
The plant room is a concrete box supported on three sides
by reinforced concrete walls and at a height of 55 ft. above
general ground level.

RECITAL ROOM
The recital room, also a concrete box, fits under the plant
room and between the three walls mentioned above, but
projects out of the open fourth side as a cantilever. There
is a 3 in. cavity between the plant room structure and the
recital room structure, to prevent the transmission of
unwanted sound. Both buildings have a common foundation
of large diameter cylinders. The walls and roof of the
recital room are 15 in. reinforced concrete and the roof
slab is supported by box beams spanning between the side
walls, the arrangement being somewhat similar to that
used in the Concert Hall. The stepped slabs supporting
the seats were precast and fixed to the longitudinal upstand
reinforced concrete beams. The cantilevered portion of
the floor is enclosed at the bottom by a 12 in. reinforced
concrete slab, the interspace is used to contain service
ducts.

FOYER
The foyer consists of a flat slab terrace at 47. 00 level and
one at 28. 00 level, both supported on mushroom-type
columns. The latter is of similar construction to the
walkway slabs and described under that heading.
28
FOOTBRIDGE
The high level terraces of the foyer and the art gallery are
connected by a prestressed concrete post-tensioned foot-
bridge spanning 90 ft. The bridge is in the form of a single
simply supported span, and has a trough type cross-section.
Tendons are of the seven-strand type. C.C.L. anchorages
and equipment were used.
THE ART GALLERY COMPLEX
The work on the Art Gallery (which will be known as the
Hayward Gallery when it is commissioned early next
year) is in its final stages. It will feature five exhibition
galleries, three external sculpture courts and a car park
at the ground level.
WALKWAYS AND FOOTBRIDGES
The walkways consist of a system running parallel to the
Belvedere Road on one side and to the River Thames on the
other side of the Royal Festival Hall, with the necessary
access staircases. In addition there are two prestressed
concrete footbridges over the Belvedere Road which
connect the walkway system to the access points provided
in the Shell complex,
THE WALKWAYS
These are of reinforced concrete flat slab construction.
The slabs themselves are of 2 ft. overall structural depth
and are cellular, the voids being formed by means of
corrugated cardboard boxes . The slabs are supported on
octagonal mushroom columns, the circumscribed diameter
being 2 ft. 9 in. and the height above the ground varying
up to a maximum of approximately 18 ft. All the reinforced
concrete work is exposed face. The columns were cast in
one operation including the mushroom.
It may be of interest to mention the procedure which was
proposed and carried out successfully for the construction
of cellular walkway slabs. After fixing the reinforcement,
the bottom 4 in. concrete slab was cast. Corrugated
cardboard boxes were then placed upon it and tied to the
rib steel after which the ribs and the top slab were poured.
Fig.15
Typical external staircase.
29
THE FOOTBRIDGES
The two footbridges cross the Belvedere Road, one each
side of Hungerford Bridge. Both bridges are of prestressed
post-tensioned concrete. They were designed as two-pin
portal frames, with cantilevers projecting at both ends.
The depth of each deck varies throughout its length. The
walking surfaces have a finish of mastic asphalt but
everywhere else the finish is exposed concrete.
The C.C.L. prestressing system was used. Each cable
consisted of twelve .276 in. diameter high tensile steel
wires . The anchorages were C. C . L. spiral anchorages
All wires in the columns were tensioned from the top only.
All wires in the decks were tensioned from both ends. As
the Shell walkways already existed, special pockets have
been left in order to tension the wires at that end.
THE UPSTREAM BRIDGE
The centre span is 53 ft. 6 in, and. the cantilever spans
are 20 ft. 6 in. and 12 ft. 6 in. The overall width is 16 ft.
The two foundations contained 7 piles and 6 piles
respectively. All piles were raked, and 18 in. in diameter.
There were 22 prestressing cables in the deck, and 14 in
each column.
THE DOWNSTREAM BRIDGE
The main span is 64 ft. 6 in. and the cantilever spans are
20 ft. 6 in. and 20 ft. 3 in. The overall width is 12 ft.
The foundation at the north end contained 6 piles. The
south end column is supported by the retaining wall of the
Shell building through a mild steel bearing plate. There
were 20 prestressing cables in the deck, and 12 in each
column.
THE TEMPORARY WALKWAY
This connects the upstream Belvedere Road footbridge to
the permanent walkway terminating at the downstream side
of the Hungerford Bridge. It consists of open or parapet-
type truss girders in structural steel, with the exception
of the span within an arch of the Hunterford Bridge,
which is of through type. This span and its portal
frame supports were designed to enable it to be
disconnected easily and lowered to the ground for rapid
removal, should an urgent need arise to support or repa.ir
the arch of Hungerford Bridge above. The removal would
be by means of rollers .
To improve the aesthetics, rectangular hollow sections
have been used in the trusses. Shop joints were welded
with bolted site joints . Fig.16
Vertical duct to the main plant room.
Architects: Greater London Council.
Department of Architecture &
Civic Design. Civic Design
& General Division
Quantity Surveyors : Harry Trinick & Partners
Services engineers: Greater London Council.
Mechanical and Electrical
Engineer' s Department
Contractors:
Belvedere Road Footbridges
and sections of walkways
included in the Royal
Festival Hall extension
contract: Higgs & Hill Lt.d.
Sub-contractors for the
small diameter bored piles
for the above: Soil Mechanics Ltd.
Contractors for the large
diameter pile foundations
contract for the Concert
Hall and Art Gallery: Whatlings (Foundations) Ltd.
General contractor for the
Concert Hall and Art
Gallery contract: Higgs & Hill Ltd.
General contractor for
temporary walkway: Whyatt (Builders) Lt.d.
Steelwork erection and
fabrication for Structural & Marine
temporary walkway: (Engineers) Ltd.

Fig.17
Foyer from internal courtyard.
Note the articulation of the periphery walls.

30
 Fig.18
'Catacombs'

Fig.19
Stage end.
Typical combination of
external finishes .
Off-shutter concrete
and precast exposed
Cornish aggregate panels

All the photographs in this article

were taken by K. C. Anthony.

Key to Figure 1 on page 20

AG - Art gallery
CH - Concert hall
F - Foyer
NFT - National Film Theatre
R - Recital room and plant room
RP - Refrigeration plant room
W - Walkways

Designed by Desmond Wyeth MSIA

Printed in England by John B. Reed Ltd. Windsor Berkshire

31